Editing Khmer architecture (section)

===Lintel, pediment, and tympanum===
A [[lintel]] is a horizontal beam connecting two vertical columns between which runs a door or passageway. Because the Angkorean lacked the ability to construct a [[true arch]], they constructed their passageways using lintels or [[corbelling]]. A [[pediment]] is a roughly triangular structure above a lintel. A tympanum is the decorated surface of a pediment.

[[File:Pedlintelsrei 2.JPG|thumb|right|[[lintel (architecture)|Lintel]] and [[pediment]] at [[Banteay Srei]]; the motif on the pediment is [[Shiva]] [[Nataraja]].]]
The styles employed by Angkorean artists in the decoration of lintels evolved over time, as a result, the study of lintels has proven a useful guide to the dating of temples. Some scholars have endeavored to develop a periodization of lintel styles.<ref>See, for example, Freeman and Jacques, ''Ancient Angkor'', pp. 32–35.</ref> The most beautiful Angkorean lintels are thought to be those of the [[Preah Ko]] style from the late 9th century.<ref>Freeman and Jacques, ''Ancient Angkor'', pp. 32–33.</ref>

Common motifs in the decoration of lintels include the [[kāla (time)|kala]], the [[Naga (mythology)|nāga]] and the [[makara (Hindu mythology)|makara]], as well as various forms of vegetation.<ref>Glaize, ''The Monuments of the Angkor Group'', p. 40.</ref> Also frequently depicted are the [[Hindu]] gods associated with the four cardinal directions, with the identity of the god depicted on a given lintel or pediment depending on the direction faced by that element. [[Indra]], the god of the sky, is associated with East; [[Yama]], the god of judgment and Hell, with South; [[Varuna]], the god of the ocean, with West; and [[Kubera]], god of wealth, with North.<ref>Freeman and Jacques, ''Ancient Angkor'', p. 20.</ref>

====List of Khmer [[lintel]] styles====
*[[Sambor Prei Kuk]] style: inward-facing [[Makara (Hindu mythology)|makara]]s with tapering bodies. Four arches joined by three medallions, the central once carved with [[Indra]]. Small figure on each makara. A variation is with figures replacing the makaras and a scene with figures below the arch.
*[[Prei Khmeng]] style: continuation of Sambor Prei Kuk but makaras disappear, being replaced by incurving ends and figures. Arches more rectilinear. Large figures sometimes at each end. A variation is a central scene below the arch, usually [[Vishnu]] Reclining. 
*[[Kompong Preah]] style: high quality carving. Arches replaced by a garland of vegetation (like a wreath) more or less segmented. Medallions disappear, central one sometimes replaced by a knot of leaves. Leafy pendants spray out above and below garland.
*[[Phnom Kulen National Park|Kulen]] style: great diversity, with influences from [[Art of Champa|Champa]] and [[architecture of Indonesia|Java]], including the kala and outward-facing makaras. 
*[[Preah Ko]] style: some of the most beautiful of all Khmer lintels, rich, will-carved and imaginative. Kala in center, issuing garland on either side. Distinct loops of vegetation curl down from garland. Outward-facing makaras sometimes appear at the ends. Vishnu on [[Garuda]] common.[[File:Linteau du temple Preah Kô (Angkor) (6967952503).jpg|thumb|right|Rich-carved decoration of Preah Ko lintel]]
*[[Bakheng]] style: continuation of Preah Ko but less fanciful and tiny figures disappear. Loop of vegetation below the [[Nāga|naga]] form tight circular coils. Garland begins to dip in the center. 
*[[Koh Ker]] style: center occupied by a prominent scene, taking up almost the entire height of the lintel. Usually no lower border. Dress of figures shows a curved line to the [[sampot]] tucked in below waist.
*[[Pre Rup]] style: tendency to copy earlier style, especially Preah Ko and Bakheng. Central figures. Re-appearance of lower border.
*[[Banteay Srei]] style: increase in complexity and detail. Garland sometimes makes pronounced loop on either side with kala at top of each loop. Central figure.
*[[Khleang]] style: less ornate than those of Banteay Srei. Central kala with triangular tongue, its hands holding the garland which is bent at the center. Kala sometimes surmounted by a divinity. Loops of garland on either side divided by flora stalk and pendant. Vigorous treatment of vegetation.
*[[Baphuon]] style: the central kala surmounted by divinity, usually riding a steed or a Vishnu scene, typically from the life of [[Krishna]]. Loops of garland no longer cut. Another type is a scene with many figures and little vegetation. 
*[[Angkor Wat]] style: centered, framed and linked by garlands. A second type is a narrative scene filled with figures. When nagas appear, they curls are tight and prominent. Dress mirrors that of [[devata]]s and [[apsara]]s in bas-reliefs. No empty spaces. 
*[[Bayon]] style: most figures disappear, usually only a kala at the bottom of the lintel surmounted by small figure. Mainly Buddhist motifs. In the middle of the period the garland is cut into four parts, while later a series of whorls of foliage replace the four divisions.<ref>''Ancient Angkor'' guide book by Micheal Freeman and Claude Jacques, pp. 32–34,  2003</ref>